Eternal light : [program]

Eternal
Light

Sunday October 15, 2017

BMO 4 Financial Group

Alex Pauk
Founding Music Director HJF HAL JACKMAN
& Conductor FOUNDATION

Supporting great

contemporary
music, locally.

MUSIC DIRECTOR’S MESSAGE
CLEAR, STRONG VOICES

Recently, | was asked whether | defined “Canadian music”
simply as music written by Canadians, or whether there is a
deeper approach that characterizes the music of our country.
| was further asked why Esprit’s leadership in tirelessly
supporting Canadian composers is important to me. |
remarked that proclaiming nationalism through music was
not as interesting or important as having a clear, strong
musical voice with something original or transformative to
say.

In selecting repertoire to perform with Esprit I'd say that
searching for such individual voices has been my guiding
principal. Intelligent, passionate, imaginative voices,
whether Canadian or not, reach people across international
boundaries. What is important to me is creating an
environment in which Canadian composers thrive in
developing their craft, and have their music heard by
informed, appreciative audiences. This is what | consider to
be the important work of Esprit. It is the way "Canadian
music” has a chance to surface and take flight.

Tonight’s concert, representing three generations, includes
music by outstanding Canadians with unique voices.
McPhee and Vivier have proven my contention about
Canadians being able to reach beyond national boundaries.
Goddard is also well on his way to doing so. The program
reflects my desire to have a clear, strong voice

in programming. This evening my wish is for you to enjoy
and be moved by some of the most exciting music written by
Canadians for the entire world to hear.

Lie hn

Alex Pauk, C.M.

Eternal Light
ESPRIT ORCHESTRA

ALEX PAUK, Music Director and Conductor

Sunday October 15, 2017 | Koerner Hall

7:15pm Pre-Concert Talk
Hosted by Alexina Louie

8:00pm Concert

PROGRAM

Christopher Goddard Spacious Euphony (2016)
(Canada) |

INTERMISSION

Claude Vivier Siddhartha (1976)

(Canada)

INTERMISSION

Colin McPhee Tabuh-Tabuhan

(Canada) Toccata for Orchestra and Two

Pianos (1936)
| Ostinatos
[1 Nocturne
Ill Finale

Concert Sponsor:

HJ HAL JACKMAN

FOUNDATION

ESPRIT ORCHESTRA

Alex Pauk, Music Director and Conductor

VIOLIN |
Stephen Sitarski,

concertmaster*
CHAIR SPONSORED BY
DAVID NOVAK

Parmela Attariwala
Corey Gemmel
Sandra Baron

Anne Armstrong
Joanna Zabrowarna
Jayne Maddison
Elizabeth Johnston
Renee London

Kate Unrau

Christine Chesebrough

Emily Kruspe
Alexey Pankratov

VIOLIN Il

Bethany Bergman*
Louise Pauls
Michael Sproule
Janet Horne Cozens
Boris Kupesic
Laurel Mascarenhas
Clara Lee

Jennifer Burford
Xiao Grabke

Kenin McKay

Erica Beston

Megan Jones

VIOLA

Douglas Perry*

Rhyll Peel

Nicholaos Papadakis

Anthony Rapoport
Rory McLeod
Laurence Schaufele
Brandon Chui

Emily Eng

Brigitte LaMarche
Alex McLeod

CELLO

Paul Widner*

CHAIR SPONSORED BY

BARBARA SUTHERLAND IN MEMORY
OF JOHN SUTHERLAND

Marianne Pack

CHAIR SPONSORED BY

BARBARA SUTHERLAND IN MEMORY
OF JOHN SUTHERLAND

Olga Laktionova

CHAIR SPONSORED BY

BARBARA SUTHERLAND IN MEMORY
OF JOHN SUTHERLAND

Elaine Thompson
Peter Cosbey
Mary-Katherine Finch
Amahl Arulanandam
Naomi Barron
Ashton Lim

Rachel Pomedli

Jill Vitols

BASS

Hans Preuss”
Rob Wolanski
Brian Baty
Natalie Kemerer
Nick Davis
Calum MacLeod
Eric Lee

FLUTE
Douglas Stewart*
Leslie Newman

Maria Pelletier, piccolo
Tristan Durie, piccolo

OBOE

Lesley Young*
SPONSORED BY

HELMUT REICHENBACHER &

JOHN STANLEY

Karen Rotenberg
Adam Weinman
Jasper Hitchcock,
English horn

CLARINET

Colleen Cook*
CHAIR SPONSORED BY
DAVID SHERR

James Ormston
Michele Verheul,
E-flat clarinet
Richard Thomson,
bass clarinet

BASSOON
Gerald Robinson”
Stephen Mosher
William Cannaway,
contrabassoon
Lisa Chisholm

HORN

Bardhyl Gjevori*
Diane Doig

Garry Pattison
Linda Bronicheski

TRUMPET
Robert Venables*
Anita McAlister
Brendan Cassin
Michelle Wylie

TROMBONE

David Archer*

lan Cowie

David Pell, bass trombone

TUBA
Jennifer Stephen*

PIANO

Stephen Clarke*
Talisa Blackman
Ben Smith, ce/este

HARP
Sanya Eng

PERCUSSION

Ryan Scott*
CHAIR SPONSORED BY
ROBERT MORASSUTTI

Mark Duggan
Tim Francom
Blair Mackay
Kris Maddigan
Ed Reifel
Chung Ling Lo
David Schotzko

*Denotes Principal Player

ALEX PAUK

Founding Music Director and Conductor

Alex Pauk was inducted into the Order of Canada on
September 23", 2015. Through founding Esprit Orchestra in
1983 and devoting the organization to new music, Pauk has
revitalized orchestral life for composers across Canada.
Through building and sustaining Esprit’s high calibre
performances, commissioning program, innovative
programming (70% Canadian), recordings, outreach
projects, national and international tours, and multimedia
ventures, Pauk has been a leader in developing and
promoting Canadian music at home and abroad.

As a conductor, he attains excellent performances on stage
and in recordings. Pauk’s commissioning of Canadian
composers of all ages and stylistic trends is central to his
work. In 2007, Pauk was a recipient of the Canada Council
for the Arts Molson Prize, awarded to those who contribute |
to the cultural and intellectual heritage of Canada. Pauk’s
commitment to the community through Esprit has also
garnered SOCAN and Chalmers Awards, as well as three
Lieutenant Governor’s Arts Awards. Under Pauk’s direction,
Esprit was awarded the 2005 Vida Peene Award for
excellent standards of performance and programming.

In addition to his work as a conductor, Alex Pauk has a
prolific career as a composer, having written music for every
kind of performing ensemble. Pauk has composed for and
conducted more than sixty works for organizations such as
the Société de Musique Contemporaine du Québec, CBC
Vancouver Orchestra, New Music Concerts, Vancouver New
Music Society, the Toronto Symphony Orchestra, and Esprit
Orchestra.

Pauk graduated from the University of Toronto Faculty of
Music in 1971. He currently resides in Toronto with his wife,
Alexina Louie, who is his vital partner in the development of
Esprit Orchestra.

STEPHEN SITARSKI

Concertmaster

Stephen Sitarski enjoys a varied career as a violinist and
musician. He is concertmaster of both the Hamilton
Philharmonic Orchestra and Esprit Orchestra, and held the
same position with the Kitchener-Waterloo Symphony (KWS)
for 15 seasons. During his tenure in K-W, Sitarski became
Artistic Director of the KWS Baroque and Beyond. Stephen
has also been guest concertmaster across North America.
He has served as Associate Concertmaster of the Canadian
Opera Company, the Winnipeg Symphony Orchestra, and
was guest concertmaster and soloist with the National Ballet
Orchestra for Eugene Onegin and Russian Seasons in
March 2011.

Stephen frequently appears as soloist with many concertos
in the standard repertoire as well as concertos written
specially for him by Canadian composers such as Kelly-
Marie Murphy (Blood Upon the Body, Ice Upon the Soul,
2006 premiere with Kitchener-Waterloo Symphony), and
Glenn Buhr (Violin Concerto, 2000 premiere with Kitchener-
Waterloo Symphony). Stephen is a founding member of Trio
Laurier and is a regular participant in diverse chamber
groups and festival events nationally and internationally with
many of Canada’s finest musicians. He is also a frequent
performer with Toronto’s acclaimed the Art of Time
Ensemble and Soundstreams, with which Stephen
completed a tour in May 2012 to Taiwan and China,
performing works by Tan Dun and R. Murray Schafer.

Stephen has arranged music for the Emperor Quartet,
Quartetto Gelato (Ocfosca) and the Kitchener-Waterloo
Symphony. Stephen was awarded the Queen's Jubilee
Medal. He is on the faculty of the National Youth Orchestra
and Wilfrid Laurier University, as well as Toronto’s Glenn
Gould School at the Royal Conservatory of Music. He
maintains an active private studio.

CHRISTOPHER
GODDARD
Spacious Euphony
(2016)

Composer's Note:

This work, written for
the National Youth
Orchestra of Canada
and subtitled
‘Concerto for

Orchestra’, is in equal
measure virtuosic and
multivalent-nearly every
instrument or instrumental
grouping in the orchestra
receives soloistic treatment
over the course of the piece,
with occasional mixed
soloist combinations arising
in the manner of a concerto
grosso. The primary musical
material is founded upon an
array of triads in perpetual
chromatic motion that |
project across musical
space over the course of the
piece, which takes the
shape of a vast arch
spanning much of the work's
duration and throughout
which the triadic array
appears in close-knit form,
gradually expands to the
outer reaches of
instrumental register, and
eventually contracts to its
original spacing. This

SALON NWY9OUd |

approach came to serve as
a vehicle to explore the
orchestral forces from within:
what instruments are best
suited to certain registers
and voicings? How can
instrumental blend be
maximized across musical
space? Can the orchestra
itself serve as a form-
bearing dimension? The
name Spacious

Euphony alludes to the
recent theoretical treatise of
Richard Cohn, Audacious
Euphony: Chromatic
Harmony and the Triad’s
Second Nature, which
explores the unique voice-
leading properties of triads —
as exemplified in chromatic
tonal music of the 19th
century.

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CLAUDE VIVIER
Siddhartha (1976)

Siddhartha, inspired by the
book by Hermann Hesse
depicting a spiritual journey
of a young man in search
of enlightenment, is one of
Vivier’s few works for
orchestra. An attention-
grabbing opening settles to
focus on chamber music
combinations within the
ensemble, featuring music
of great intimacy and
delicacy. Though an Asian
influence is apparent in the
score, Vivier composed this
ambitious piece before his
own spiritual and life-
changing journey to Asia.

Program note courtesy of
Boosey & Hawkes

COLIN MCPHEE
Tabuh-Tabuhan (1936)

Composer's Note:

Tabuh-Tabuhan was
composed in Mexico in
1936 and first performed by
Carlos Chavez and the
National Orchestra of
Mexico City. It was written
after | had spent four years
in Bali engaged in musical
research, and is largely
inspired, especially in its

orchestration, by the
various methods | had
learned of Balinese
gamelan technique. The
title of the work derives
from the Balinese word
‘tabuh’, originally meaning
the mallet used for striking
a percussion instrument.
Tabuh-Tabuhan is a
Balinese collective noun,
meaning different drum
rhythms, metric forms,
gong punctuations,
gamelans, and music
essentially percussive. Ina
subtitle, | call the

work Toccata for Orchestra
and Two Pianos.

Although Tabuh-Tabuhan
makes much use of
Balinese musical material, |
consider it a purely personal
work in which Balinese and
composed motifs, melodies,
and rhythms have been
fused to make a symphonic
work. Balinese music never
rises to an emotional
climax, but at the same time
has a terrific rhythmic drive
and symphonic surge. Many
of the syncopated rhythms
of Balinese music have a
close affinity with those of
Latin-American popular
music and American jazz —
a history in itself — and

| these have formed the basic
impulse of the work from
start to finish.

To transfer the intricate,
chime-like polyphonic
figurations of the gamelan,
keyed instruments, and
gong-chillies, | have used a
"nuclear gamelan"
composed of two pianos,
celesta, xylophone,
marimba, and glockenspiel.
This forms the core of the
orchestra. The various
sounds produced by hand-
beaten drums are
simulated by pizzicati in the
cellos and basses, low
harp, and staccato piano
tones.

| have included two
Balinese gongs of special
pitch, and Balinese
cymbals. Around these
more exotic resonances, a
comparatively normal
orchestra amplifies and
extends the different
timbres to their maximum
intensity.

There are three
movements: Ostinatos,
Nocturne, and Finale. The
flute melody in the
Nocturne is an entirely.
Balinese flute tune, taken
down as played.

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Be directly involved with keeping our orchestra thriving by sponsoring one or
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Ontario Resonance
‘Finale Concert

Thursday November 23, 2017
7:30pm

Jeanne Lamon Hall

Trinity St. Paul’s Centre

42/ Bloor Street West

Eugene Astapov -
Conductor

Featuring Six
World Premieres
by Ontario
Resonance
Mentoring
Composers

FREE ADMISSION “tel
FOR THE GENERAL 3
PUBLIC!

Music by:

Eugene Astapov Adam Scime
Mark Duggan Bekah Simms
Chris Thornborrow — Christina Volpini

For more information
visit espritorchestra.com

CHRISTOPHER
GODDARD
(b.1986)

Christopher Goddard
is a Canadian
composer and
pianist based in
Montreal. As a
composer, Goddard
has collaborated with
NYO Canada, the
Nouvel Ensemble
Moderne, |’Orchestre
de la Francophonie, TAK
Ensemble, andPlay duo,
No Exit New Music
Ensemble, NOISE-
BRIDGE, and the Larkin
Singers.

SSIHdVYSOIE YASOdWNOD

Recent commissions have
come from the Royal
Conservatory/Koerner Hall
for the 21C Festival, and
from the City of
Reutlingen. Goddard's
work has been recognized
by the SOCAN Young
Composer Awards, the
Prix Collegien de Musique
Contemporaine, and the
Robert Avalon Competition
for Young Composers. The
Canadian League of
Composers presented him
with the 2015 Friends of
Canadian Music Award to
share with the

National Youth Orchestra
of Canada, who would
later select him as their
2016 RBC Foundation
Emerging Composer-in-
Residence. The resulting
work received its premiere
in Lisbon and was
broadcast on CBC Radio 2
and BBC Radio 3.

As a performer and
advocate of contemporary
music, Goddard has
presented dozens of
premieres by his
colleagues, appearing with
new music groups such as
Ensemble Moto Perpetuo,
Columbia Composers,
Penn Composers Guild,
the Wet Ink Ensemble and
others. He has participated
in the Samos Young Artist
Festival, the Avant Music
Festival in New York and
was a member of the
Lucerne Festival Academy
in 2013. He performed with
TACTUS, the
contemporary music
ensemble at the
Manhattan School of
Music, while studying with
pianists Christopher
Oldfather and Anthony de
Mare. He is presently
pursuing a Doctorate in
composition with Professor

John Rea at McGill
University, and currently
serves as Artistic Director
of Ottawa New Music
Creators.

Biography courtesy of composer

CLAUDE VIVIER
(1948-1983)

The music of Claude Vivier
is a reflection of his
personal life. Both directly
and indirectly, the themes
of his compositions were
inspired by his unknown
family origins, his search
for his mother, his religious
vocation, his
homosexuality, and even
his premature death. The
forty-nine works composed
during his brief career
comprise the impressive
legacy of an individual as
passionate about life as he
was about music.

Born in Montreal of
unknown parents, Vivier
was adopted at the age of
three. He discovered
music at the seminary
which he entered at
sixteen. For a period of
four years he studied at
the Conservatoire de
musique de Montreal;

composition with Gilles
Tremblay and piano with
Irving Heller.

In 1971, as a recipient of a
Canada Arts Council
award, Vivier left to study
in Europe.

Back in Canada, his
reputation as a composer
began to take hold. He
taught at the University of
Ottawa and was granted
several commissions,
among others by The
Canadian Music Awards
(seven short, idiomatic
pieces), the Société de
musique contemporaine
du Québec
(Liebesgedichte) and the
National Youth Orchestra
of Canada (Siddhartha). |n
the fall of 1976, Vivier
undertook a long trip
through Asia. It was during
his stay on the island of
Bali that his ideas
concerning the role of the
artist in society were
solidified. This initiated a
new period in the stylistic
evolution of his music, a
period characterized by
affirmation and certainty.
This was the period of his
brilliant Shiraz, of Orion, of
the opera Kopernikus.

Most importantly, it was in
the cycle of pieces for
voice and instrumental
ensemble that the unique
style of Vivier crystallized.
This style is characterized
by the voice, by words
sung in a language
invented by the composer,
by striking melodies.

His outstanding
development as a
composer earned Vivier
the title of "Composer of
the Year" in 1981,
awarded by the Canadian
Music Council. Benefitting
once again from a Canada
Council grant, he settled in
Paris.

In 1983, Vivier was the
victim of a shocking
murder. His last work is
the unfinished G/aubst du
an die Unsterblichkeit der
Seele, whose thematic
development converges in
a dramatic way with the
violent death of the
composer. The
interweaving of his
personal and professional
life, of the real and the
imaginary, reveal an
outstanding global
awareness and define a
possible future for

humankind, for whom
Vivier was a messenger,
an aerolite passing
through our world.

Biography by Jaco Mijnheer,
courtesy of the Canadian Music
Centre |

COLIN MCPHEE
(1900-1964)

Born in Montreal, McPhee
grew up in Toronto. It was
there that he premiered his
first piano concerto with
Toronto's New Symphony
Orchestra.

McPhee made a
notoriously characteristic
decision not to study with
Nadia Boulanger in Paris,
as SO many composers of
his generation had. He
opted instead for New
York, and the more avant-
garde composer, Edgard
Varese. In New York, he
met the woman who would
soon become his wife,
Jane Belo. One night at an
exotic dinner party on
Manhattan's East Side,
Colin and Jane heard the
siren song of Balinese
gamelan music, scratchily
captured on primitive early
cylinder recordings from
Bali. Within a matter of

months, they were
married, and steaming
across the Indian Ocean to
the island of their dreams.

Throughout the 1930s,
Colin McPhee immersed
himself in an intensive
investigation of Balinese
gamelan music. McPhee
watched while craftsmen
forged the metal gongs
and brass bells that
ultimately combine with
wooden xylophones, skin
drums and bamboo flutes
to make up a gamelan
ensemble. He
painstakingly notated the
melodic and percussive
complexities of every
gamelan piece he heard
played. During the time
that he lived there, he
commissioned the
formation or reconstitution
of gamelan ensembles that
were already dead or
dying. He wrote a
musicology masterpiece
called Music in Bali which
is still the standard
textbook at the prestigious
Conservatory of Music and
Dance in Bali’s capital city,
Den Pasar.

Tabuh-Tabuhan will
always be McPhee's

signature piece. In the
midst of its composition, in
the middle of 1936, Colin
wrote to Henry Cowell
announcing the imminent
arrival of a “concerto for
two pianos and large
orchestra using Bali, Jazz,
and McPhee elements’. It
would be difficult to come
up with any more accurate
explanation of the musical
forces deployed. It
received a standing
ovation, but went without
another performance for
more than a decade |
despite McPhee’s best
efforts to bring it to the
attention of a number of
prominent conductors.

By 1949, McPhee was in
the middle of a desperate
drinking depression. He
had never really recovered
from the painful separation
of actually leaving Bali —
which coincided with the
end of his marriage to
Jane Belo. Theirs had
been an unconventional
relationship from the very
beginning. He was openly
gay; she was bisexual. Ball
had allowed them to go
their own ways.

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info@kingswayconservatory.ca
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THANK YOU!

ESPRIT ORCHESTRA gratefully acknowledges the
following donors for their generous support of Esprit’s

2017/18 season.

Music Director’s Circle
$10,000+

Timothy & Frances Price

Sustaining Member
$5,000-$9,999

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Member $1,000-$4,999
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memory of John Sutherland
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Patrons $500-$999

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Gravenor

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John Lawson C.M.
Marilyn Lightstone
Margaret Logan
Wailan Low

Jan & Brenda Matejcek
Bruce Mather

Jane McWhinney
Richard Mercer

Patricia Milne

Richard Moorhouse
Julie & David Moos
Roald Nasgaard, O.C.
Phillip Nimmons
Tammy Peterson

Sally Pitfield

Kathleen Roulston &
John Snyder

Ryan Scott & Sanya Eng
Robert Simpson

Jeffrey & Tomiko Smyth
Audrey Stefanovich
Denton Tovell

George & Rivi Ullman
Nicola von Schroeter
David Waterhouse

Fen Watkin

Mary Wellner
Anonymous in memory of
Joan Watson
Anonymous (3)

This listing reflects our best efforts
to publish current information as of
September 29, 2017. Please
contact the Esprit office with any
amendments.

BOARD OF DIRECTORS

Margaret Logan President | ESPRIT -
Daniel Zbacnik Treasurer | LA
Kathy Li Secretary ORCHESTRA
Cedric Franklin Director at Large |
John Kelly Director at Large |

Amanda Klein Director at Large

Alexina Louie Director at Large

ARTISTIC STAFF

Alex Pauk, C.M. Music Director & Conductor
ADMINISTRATIVE STAFF

Rachel Gauntlett Operations Manager

Amber Melhado Marketing & Outreach Coordinator

Christine Little Personnel Manager

Hayoung Ma Operations Assistant

Christopher Cerpnjak Production Intern

SPECIAL THANKS

David Jaeger, Dennis Patterson,
Mary & Keith Gauntlett, Ryan Scott

511-174 Spadina Avenue
Toronto, ON M5T 2C2
416.815.7887
info@espritorchestra.com

090009

espritorchestra.com

Emergence
Sunday November 19, 2017

Daniel Bjarnason Emergence

Marc-André Dalbavie Concerto for Violin and Orchestra
Douglas Schmidt Just a stranger here myself..:

Ana Sokolovic Ringelspiel

Alex Pauk - conductor

Véronique Mathieu - violin

Concert Sponsor

The Max Clarkson Family Foundation

Plug In
Sunday February 11, 2018

Eugene Astapov Hear My Voice

Unsuk Chin Mannequin

Tan Dun Passacaglia: Secret of Wind and Birds
Jose Evangelista Symphonie minute
Matthew Ricketts Lilt

Alex Pauk - conductor
Jennifer Nichols - choreographer/dancer

Taiko Plus!
Sunday April 15, 2018

Chris Paul Harman New Work
Maki Ishii Mono-Prism
Fuhong Shi Concentric Circles
Scott Wilson Dark Matter

Alex Pauk - conductor
Shannon Mercer - soprano
Nagata Shachu - Japanese taiko drummers

Esprit Orchestra gratefully
acknowledges the following for
their generous support

Season Sponsor

BMO Ee Financial Group

re) ONTARIO ARTS COUNCIL
CONSEIL DES ARTS DE L'ONTARIO
an Ontario government agency
un organisme du gouvernement de |'Ontario

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The Mary-Margaret Webb Foundation
The Koerner Foundation

The Max Clarkson Family Foundation
The Judy & Wilmot Matthews Foundation
Timothy & Frances Price

ESPRIT ORCHESTRA

511-174 Spadina Ave. Toronto, ON M5T 2C2
416 815 7887

info@espritorchestra.com
espritorchestra.com

G900Q00